<span data-sheets-value="{"1":2,"2":"14:22 minutes"}" data-sheets-userformat="{"2":15297,"3":{"1":0},"9":0,"10":1,"11":0,"12":0,"14":{"1":2,"2":0},"15":"Calibri","16":9}" style="font-size:9pt;font-family:Calibri, Arial;">14:22 minutes</span>
Set in the haunting space of an ex-colonial rubber plantation in Central Vietnam, Phuong Linh Nguyen’s film Memory of the Blind Elephant is a tender portrait of the complex economies of interspecies trauma and resilience in the face of continued extraction and destruction. Formerly present in the coronation of Potau Apui (the Jarai King of Fire), in Dr. Yersin’s exploratory crew during the colonial period, and now a major draw for tourists, the figure of the elephant is ailing, grievous, as though haunting its habitat. Intrigued by the reality she observed, Phuong Linh gathered, documented, altered, repositioned the local materials of ceaseless exploitation of natural resources: raw rubber, ferrosols, and aluminium to assert a critical proposition.
Phuong Linh Nguyen’s multidisciplinary practice spans video, sculpture and installation. Her practice is concerned with geographic cultural shifts, traditional roots, and the splintered history of Vietnam. Tracing a complex network of ethnicities, religions, and cultural and geo-political influences. Her works contemplate visible versus invisible truths, form and time, and conveys a pervasive sense of alienation, dislocation, and the ephemeral. Nguyen Phuong Linh often travels for field research and to collect artifacts from historical sites of exchange. She transforms these materials in order to construct alternative perspectives and interpretations of fragmented histories, personal narratives, and memories.
Calling attention to campaigns for land rights, survival, and sovereignty, Prabhakar Pachpute’s recent works consider how farmers in India use their bodies in performative ways during acts of protest...
Floral art by Andy Warhol, Pablo Picasso, Claude Monet and other artists on display at private Deji Art Museum in Nanjing, China | South China Morning Post Advertisement Advertisement Art + FOLLOW Get more with my NEWS A personalised news feed of stories that matter to you Learn more The exhibition ‘Nothing Still About Still Lifes: Three Centuries of Floral Compositions’ at Nanjing;s Deji Art Museum features more than 100 modern and contemporary artworks, including (above) “Les Amoureux au Bouquet de Fleurs” (1935-1937), by Marc Chagall...
Redefining The Power (with Didi Fernandes) is a metaphor of how reflections on history and society during the Angolan Civil War (1975-2002) are largely ignored within the canon of history...
In her work, Maids Room (2012) which is part of a series, Daniela Ortiz undertakes an architectural analysis of the houses belonging to the upper class of Lima...
“While taking the picture it was challenging to make the boys sit properly without moving...
The black-and-white projection, Araf by Didem Pekün, begins, as a lithe man stands high up in the middle of the grand, rebuilt 16th-century Ottoman bridge in Mostar, in Bosnia and Herzegovina...
The stained glass windows of Chloé Quenum’s Les Allégories evoke the sacred and describe the movement of a rooster in the form of patterns extracted from a wax fabric found in Benin...